The Fat Angel Sings

Expect in-depth interviews with the greatest artists, articles on your favourite records and memorabilia, the most comprehensive reviews section, as well as RC’s unique listings pages of items for sale.

This month’s cover stars couldn’t be more stellar and tinselly for Christmas, being the glam class of 1973: Slade, Sweet, Suzi Quatro, Mud, Elton, Bowie, Bolan and Wizzard. Over 16 pages, we celebrate the 70s glamsters in all their flamboyant, colourful glory and discover their more monochrome 60s roots, via interviews with some of the members of the bands about the time Before They Were Famous. Plus, we present a “pre-glam” discography from when the household names operated under such strange monickers as The Elastic Band and At Last The 1958 Rock And Roll Show.  

As well as including a fantastic vinyl-related calendar it’s a seasonally hefty doorstopper of an issue this month, with a bumper crop of features. We reassess Kate Bush’s second album, on its 45th birthday, and deem it worthy of reinspection. We meet the Last Monkee Standing, Micky Dolenz. Cat Power tells us about her new Dylan covers album. Slowdive talk shoegazing and becoming critical faves. We enter the whole wide world of Wreckless Eric, rehabilitate croon prince Bobby Darin and present a book of paintings of Britain’s record shops. 

We also list RC writers’ recommended albums – new and reissued – of 2023, the ones to spend your Xmas tokens on. And we review new albums and reissues from R.E.M., Bryan Ferry, John Wetton, Peter Gabriel, Trevor Horn and last month’s cover stars, Madness, plus new books from Glen Matlock and JJ Burnel, films on John Lennon and The Birthday Party, singles by Dave Davies and Johnny Moped and concerts from The Hollies, Hawkwind, Deacon Blue and more. 

Simple Minds and Icehouse have come together to celebrate their upcoming Australian Red Hot Summer Tour dates to record a song that influenced them both: the classic ‘Get It On‘, written by Marc Bolan and originally recorded by his band T. Rex. The two iconic acts beloved throughout the 80s until now (and likely beyond), Icehouse and Simple Minds, came together to pay tribute to a band they both love, T. Rex. Not only did they cover the hit single “Get It On” with grace and energy, but the new release also serves as a promotional number for the two bands’ upcoming co-headline run on the Red Hot Summer Tour.

Regarding the UK context, a lot of people of his generation said that everything began when David Bowie appeared on Top Of The Pops. For Jim Kerr, the hold music has on his life began two years earlier when T. Rex, led by Marc Bolan, fronted a string of great singles and great albums.

Music video by ICEHOUSE, Simple Minds performing “Get It On” Diva Records Pty Ltd.

Scottish post-punk duo The Jesus and Mary Chain are set to return with a new album in 2024. “Glasgow Eyes” will arrive March 8th 2024 and coincide with the band’s 40th anniversary, along with an autobiography to be published by Orion/White Rabbit.

“Glasgow Eyes” will be Jim and William Reid’s eighth album together as the Jesus and Mary Chain, and a follow-up to their 2017 LP “Damage and Joy”. The latter was a project inspired by Suicide, Kraftwerk and the improvisational disciplines of jazz, but “Glasgow Eyes” is a look back to take the duo back to 1984.

“…don’t expect ‘the Mary Chain goes jazz.’ People should expect a Jesus and Mary Chain record, and that’s certainly what “Glasgow Eyes” is,” Jim says of the new project. “Our creative approach is remarkably the same as it was in 1984, just hit the studio and see what happens. We went in with a bunch of songs and let it take its course. There are no rules, you just do whatever it takes. And there’s a telepathy there—we are those weird not-quite twins that finish each other’s sentences.”

The Jesus And Mary Chain’s critically acclaimed new album ‘Glasgow Eyes’ has been flying out since its release in March and the second pressing, Marking 40 years of The Jesus And Mary Chain, ‘Glasgow Eyes’ was recorded at Mogwai’s Castle of Doom studio in Glasgow. Debuting at #7 in the UK Album Chart – their highest position since ‘Darklands’ – it finds one of the UK’s most influential groups embracing a productive second chapter, their maelstrom of melody, feedback and controlled chaos now informed more audibly by their love for Suicide and Kraftwerk.

This iconic Brooklyn-based band has rocked thousands of rooms across the globe, and they’re back to blow minds once again. What makes this year extra special is that it’s all about the music. The band is putting the spotlight back where it belongs — on the incredible sounds and unforgettable moments that The Hold Steady creates. No more talk about the past; it’s all about the present!

As always, we’re bringing you our unique Be in the Stream experience. Your energy, your passion, and your faces will light up Brooklyn Bowl’s bowling lane screens, allowing the band to connect with you throughout the show.

Ahead of the first show on Wednesday, November 29th, the band sat down with Brooklyn Bowl founder Peter Shapiro and The Gospel Of The Hold Steady author Michael Hann for a live version of frontman Craig Finn’s That’s How I Remember It podcast at The Wythe Hotel.

The Hold Steady was then joined by Sincere Engineer, the first of four surprise openers. Thursday saw an opening set from Katy Kirby; Friday Scott Lavine opened; and Real Young and Lazy Horse rounded out the lineup on Saturday.

The band played a unique setlist each night with over two dozen songs from throughout the band’s 20-year career, though one thing remained consistent: Each night’s encore concluded with “Killer Parties”. Saturday’s finale also featured a surprise appearance by The Horn Steady horn section and crew member Mosh Pit Josh, who sang “Stay Positive” on both Thursday and Saturday.

MGMT have unleashed a new music video for their single “Bubblegum Dog” off their upcoming album, “Loss of Life”. Directed by Tom Scharpling and Julia Vickerman, the visually arresting production pays homage to iconic alternative-rock videos of the bygone era.

The video stars Andrew VanWyngarden and Ben Goldwasser in a light hearted and nostalgic setting. Hanging by a faux fire, sporting cowboy hats, and delivering a performance that would fit right in on MTV Unplugged, the duo embraces the spirit of the ’90s with cheeky homages, including soul patches. Actor Mark Proksch, recognized for his roles as Colin Robinson in What We Do in the Shadows and Nate in The Office, adds an extra layer of delight with a cameo appearance.

Vickerman and Scharpling, in a joint statement, revealed the creative vision behind “Bubblegum Dog.” They saw the video as an opportunity to blend the charming, do-it-yourself, surreal, cardboard craft aesthetic reminiscent of shows like Yo Gabba Gabba and The Mighty Boosh with the ultra-serious grunge videos on MTV that shaped their youth. The directors aimed to juxtapose the heavy, brooding angst of the grunge era with the absurd and childlike fun associated with classic children’s shows.

The directors commended VanWyngarden and Goldwasser for their comedic prowess, expressing excitement at the duo fully embracing their acting roles. They lauded the musicians for their willingness to experiment with various wigs, costumes, personas, and facial hair, contributing new ideas throughout the creative process.

November 28th, Paul McCartney took part in a surprise appearance at the 500-capacity Brazilian venue Clube do Choro in Brasília. The original Beatle cut into a 24-song set during the performance, teeming with classic material from his time with the Fab Four and Wings. Notably, the club performance represented the smallest venue McCartney has performed at in Brazil. 

Rumblings of a surprise appearance began to spread on Monday, November 27th, and were confirmed through ticket sales on Tuesday. The smaller concert affair arrived before the musician’s billed follow-up at ​​Mané Garrincha Stadium on Friday, November 30th on his current Got Back Tour. The club gig began with the Beatles’ classic “A Hard Day’s Night,” followed by a number from the Wings archive, with the arrival of “Junior’s Farm.” 

From one piece of Wings material to the next, McCartney and his backing band soared into “Letting Go” before resuming Beatles content with “Got to Get You Into My Life.” The group of seasoned players picked up “Come On to Me” before “Let Me Roll It,” which included a tease of Jimi Hendrix’s “Foxy Lady.” Notably, the cover was performed the night after what would have been Hendrix’s 81st birthday. 

Fittingly, McCartney dedicated “My Valentine” to his bride, Nancy Shevel. After, added material that stroked the artist’s extensive history in the spotlight ensued, including “Nineteen Hundred and Eighty-Five,” “Maybe I’m Amazed,” and “I’ve Just Seen a Face.” A segment of classic Beatles material unfolded next, consisting of “From Me to You” and “Blackbird,” which sandwiched “Fuh You” followed by another return to favourites with “Ob-La-Di, Ob-La-Da,” “Get Back,” “Lady Madonna,” “Let It Be” and set-ender, “Hey Jude.” 

For the night’s encore, McCartney continued to add heat to the fire with the arrival of “Sgt. Peppers Lonely Hearts Club Band.” He continued by performing “Helter Skelter,” “Golden Slumbers,” and “Carry That Weight” before a fitting conclusion to the night with a last play of “The End,” a song that has historically ended his shows.

Paul McCartney at the Clube do Choro – Brasília, Brazil November 28th, 2023

Set: A Hard Day’s Night, Junior’s Farm, Letting Go, Got to Get You Into My Life, Come On to Me, Let Me Roll It (Foxy Lady tease), Getting Better, My Valentine, Nineteen Hundred and Eighty-Five, Maybe I’m Amazed, I’ve Just Seen a Face, From Me to You, Blackbird, Fuh You, Ob-La-Di, Ob-La-Da, Get Back, Lady Madonna, Let It Be, Hey Jude

Enc.: Sgt. Pepper’s Lonely Hearts Club Band, Helter Skelter, Golden Slumber, Carry That Weight, The End

Sweeping Promises release their second, latest and greatest album, “Good Living Is Coming For You“, on Feel It Records in North America and Sub Pop for the rest of the world. 

Sweeping Promises’ members Lira Mondal and Caufield Schnug say lead single “Eraser” is“a malevolent creep – an overly ambitious, shadowy force who bears an uncanny resemblance to you. She watches your every move, mirrors your motions, and ultimately uses your voice against you without you ever noticing what she’s done. She’s unchecked ambition, a paranoid girl Friday, an overriding impulse to reflect rather than project. She must be stopped at all costs.”

“Good Living Is Coming For You” was recorded and produced by Mondal and Schnug in their home studio in Lawrence, KS, and follows their 2020 debut, “Hunger for a Way Out”, and their insistent 2021 single, “Pain Without a Touch.” Coverage for both quickly followed from the likes of Stereogum (Band to Watch), Pitchfork (Selects), and NPR Music, who raved, “Sometimes the best pop songs stick to the basics: no muss, no fuss.

With the Sweeping Promises, they add some fuzz. The same way the Pixies wrote pop songs with a nasty sheen, this Boston post-punk band dirties up earworm melodies with a lo-fi charm. You can play spot the influence all over this debut: Young Marble Giants here, Kleenex/LiLiPUT there, some B-52s and Blondie for good measure. Lira Mondal has a voice that leaps and bounds with the enthusiasm of a bedroom performance, hairbrush in hand. But mostly, you can hear a band dream out loud…”

Fans of Siouxsie Sioux will find much to love in this Boston outfit’s lo-fi no wave racket. This is a record so packed with post-punk energy it rarely allows the listener to pause for breath.

Mitski has created a mini epic in her country-inflected 7th LP. At times bombastic, at times breathily intimate, the record aches with grown-up, familiar heartbreaks and has an ability to slip between the heartfelt and the witty without ever losing its grip. 

The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us. To love this place — this earth, this America, this body — takes active work. It might be impossible.

The best things are.The album is full of the ache of the grown- up, seemingly mundane heartbreaks and joys that are often unsung but feel enormous. It’s a tiny epic. From the bottom of a glass, to a driveway slushy with memory and snow, to a freight train barreling through the Midwest, and all the way to the moon, it feels like everything, and everyone, is crying out, screaming in pain, arching towards love. Love is that inhospitable land, beckoning us and then rejecting us.

To love this place — this earth, this America, this body — takes active work. It might be impossible. The best things are.